Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."
Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
A Perceived Regression
This shift is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political figure appears as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from art.
"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."
The Younger Generation's Awareness
He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."
Those early experiences would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.
"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Beyond the Magazine World
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented battles with depression and addiction.
He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to be defined narrowly has inspired him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.
"Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he states.
The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."
A Testament to Resilience
Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.
What would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."
He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."